What do we learn about vanessa at the beginning of the interview

What do we learn about vanessa at the beginning of the interview

What do we learn about Vanessa at the beginning of the interview?

1) She has won her first writing award.

2) She writes affecting novels.

3) She is a beginner.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

What do we learn about vanessa at the beginning of the interview

What do we learn about Vanessa at the beginning of the interview?

1) She has won her first writing award.

2) She writes affecting novels.

3) She is a beginner.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

Воспользуйтесь плеером, чтобы прослушать запись.

In her childhood Vanessa produced a …

3) collection of poems.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

I produced a newspaper at the age of 6.

Воспользуйтесь плеером, чтобы прослушать запись.

What made Vanessa start her writing career?

1) An accident in Brighton.

2) Reading a book bought by chance.

3) A meeting with a writer.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

. picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up until I’d finished it. 400 pages. I have to thank that man so much. That turned me from someone who had bought a book to someone who had become a writer.

What do we learn about vanessa at the beginning of the interview

Воспользуйтесь плеером, чтобы прослушать запись.

What do we learn about Vanessa at the beginning of the interview?

1) She has won her first writing award.

2) She writes affecting novels.

3) She is a beginner.

Воспользуйтесь плеером, чтобы прослушать запись.

In her childhood Vanessa produced a …

3) collection of poems.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

I produced a newspaper at the age of 6.

Воспользуйтесь плеером, чтобы прослушать запись.

What made Vanessa start her writing career?

1) An accident in Brighton.

2) Reading a book bought by chance.

3) A meeting with a writer.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

. picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up until I’d finished it. 400 pages. I have to thank that man so much. That turned me from someone who had bought a book to someone who had become a writer.

What do we learn about vanessa at the beginning of the interview

Установите соответствие между заголовками 1–8 и текстами A–G. Запишите свои ответы в таблицу. Используйте каждую цифру только один раз. В задании есть один лишний заголовок.

1. CHRISTMAS SHOPPING

2. CRIME AT CHRISTMAS

3. CHRISTMAS TRADITIONS

4. CHRISTMAS – A FAMILY CELEBRATION

5. CHRISTMAS IN RUSSIA

6. CHRISTMAS DINNER

7. CHRISTMAS WEATHER

8. NEW YEAR’S CELEBRATIONS

A. There are a lot of traditions connected with Christmas but perhaps the most important one is the giving of presents. Family members wrap up their gifts and leave them at the bottom of the Christmas tree to be found on Christmas morning. Children leave a long sock or stocking at the end of their beds on Christmas Eve, 24th December, hoping that Father Christmas will come down the chimney during the night and bring them small presents, fruit and nuts.

B. At some time on Christmas day the family will sit down to a big turkey dinner followed by Christmas pudding or Christmas cake. As for Christmas cake, heavy and overfilling it is not to everybody’s taste. To make things worse, it takes weeks to make and when it is ready it can last until Easter, so if you don’t like it, you have to try and eat some at Christmas to avoid being haunted by it months after.

C. Officially Christmas and New Year celebrations run from the 24th of December to the 2nd of January. However, for many Brits the Christmas marathon starts as early as the beginning of October with the first festive adverts on TV. The idea of Christmas shopping is that you spend as much money as you can on anything you cast your eyes on, preferably something neither you nor your family or friends will ever use. An average British family spends 670 pounds or more around the Christmas period.

E. Who doesn’t want to have a white Christmas? Playing snowballs and making a snowman with the whole family on Christmas Day is most people’s dream (apart from the countries like Australia that celebrate Christmas in summer, on the beach). This dream is more likely to come true in northern countries like Russia, but for the British people it’s different. Although it’s not uncommon to get some snow in Scotland and northern England, the rest of Britain is normally only lucky enough to get some frost. In most cases the weather is wet and gloomy.

F. New year is a time for celebrating and making a new start in life. In Britain many people make New Year’s resolutions. This involves people promising themselves that they will improve their behaviour in some way, by giving up bad habits. People might decide to give up smoking, for example, or to go on a diet. These promises are often broken in the first few days of the New Year, however!

G. Christmas is celebrated on the 25th of December. For most families, this is the most important festival of the year. On this day many people are travelling home to be with their families. Most houses are decorated with brightly-coloured paper or holly, and there is usually a Christmas tree in the corner of the front room. Unfortunately, not all families get on well together. As it is a well-known fact, some magazines publish tips on how to cope with Christmas, such as yoga, meditation or holidays abroad.

What do we learn about vanessa at the beginning of the interview

What do we learn about Vanessa at the beginning of the interview?

1) She has won her first writing award.

2) She writes affecting novels.

3) She is a beginner.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

In her childhood Vanessa produced a …

3) collection of poems.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

What made Vanessa start her writing career?

1) An accident in Brighton.

2) Reading a book bought by chance.

3) A meeting with a writer.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

Vanessa thinks that anybody can be a storyteller because …

1) everybody enjoys being one.

2) people know a lot of stories.

3) people are born with this gift.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

What books does Vanessa specifically advise beginner writers to read?

1) Both good and bad books.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

How does Vanessa treat her characters?

2) Like means to impress readers.

3) Like people living their own lives in a story.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

Which of the following does Vanessa say about editing?

1) It may considerably shorten your text.

2) A raw text is more interesting than its edited version.

3) You should edit at least a third of the original text.

Interviewer: Hello, everyone, this is your favourite weekly program «Writers». Today we are happy to have here Vanessa Silver, a famous writer who has won numerous awards for her short fiction. Her novels are described as extraordinary, lyrical, moving, yet funny. Hello, Vanessa.

Vanessa: Good afternoon, thank you for inviting me.

Interviewer: I’ve always wondered to know how people understand they were born to write books. You see, writer is not a common profession. When did you first start writing?

Vanessa: I started writing when I was still a child. I produced a newspaper at the age of six. The first edition was written in blue crayon. I wrote dreadful poetry when I was in my teens. I’ve still got it and it makes me giggle. I didn’t write much apart from comedy, skits and sketches until I started writing fiction properly in late 2002.

Interviewer: How did you go about starting your first novel?

Vanessa: I remember I was once shopping in Brighton during a thunderstorm. I dashed into a bookshop and I picked up a random book. I drove home, sat down with some tea in my wet trousers and I didn’t get up again until I had finished it. 400 pages! I have to thank that man so much! That’s when I turned from someone who had bought a book to someone who would become a writer. It pushed the switch, it unlocked the feeling of «I want to do this».

Interviewer: Apart from being a writer you are also a lecturer. How did you get into teaching?

Vanessa: I think I found a thing that I loved doing and I wanted to pass on the love of doing it. I’m a totally non-academic tutor, I’m very craft-based and I try to open up creativity in people, literally in every person.

Interviewer: Do you believe everybody has a story to tell?

Vanessa: I think that storytelling is almost innate in us. People sat round fires and caves in the stone age, telling each other stories. I don’t think they would have just said «I went off and got a mammoth today». We have an ability to hang on to the important parts and drip-feed people with the important bits. You don’t give it up all upfront. You make them wanna know the next bit. Keep them involved by creating the character that draws them in and putting that character in a situation they can empathise with. Make the reader want to find out how they resolve this thing.

Interviewer: What is your advice for writers who are just starting?

Vanessa: Read as much as you can, not just the things you’re told to read to parents, tutors and reviewers. Read anything, both good books and bad ones. Whatever genre you wanna work in, you’ve got to get a sense for when you’re improving. Write as much as you can and at some point you will find that the words take on a shape and rhythm of their own. It’s almost a physical thing to recognise what it feels like. That moment when you change from being a person in charge of the pen to someone not deliberately creating something. You’ll find the point when the character takes off and does their own thing. You need to recognise that and not refuse to let the character do what they want. Don’t use the character as the puppet, be a tool to the character, so you’re following along behind them. Listen to your own instincts as a writer and then edit. That may mean cutting a huge amount of words or cutting down a story by a third. I think a lot of writers don’t do enough, they leave it raw. There is no point in doing things by half.

Interviewer: Thank you, Vanessa, it has been very interesting talking to you.

Vanessa: Thank you.

Установите соответствие между заголовками 1–8 и текстами A–G. Запишите свои ответы в таблицу. Используйте каждую цифру только один раз. В задании есть один лишний заголовок.

1. CHRISTMAS SHOPPING

2. CRIME AT CHRISTMAS

3. CHRISTMAS TRADITIONS

4. CHRISTMAS – A FAMILY CELEBRATION

5. CHRISTMAS IN RUSSIA

6. CHRISTMAS DINNER

7. CHRISTMAS WEATHER

8. NEW YEAR’S CELEBRATIONS

A. There are a lot of traditions connected with Christmas but perhaps the most important one is the giving of presents. Family members wrap up their gifts and leave them at the bottom of the Christmas tree to be found on Christmas morning. Children leave a long sock or stocking at the end of their beds on Christmas Eve, 24th December, hoping that Father Christmas will come down the chimney during the night and bring them small presents, fruit and nuts.

B. At some time on Christmas day the family will sit down to a big turkey dinner followed by Christmas pudding or Christmas cake. As for Christmas cake, heavy and overfilling it is not to everybody’s taste. To make things worse, it takes weeks to make and when it is ready it can last until Easter, so if you don’t like it, you have to try and eat some at Christmas to avoid being haunted by it months after.

C. Officially Christmas and New Year celebrations run from the 24th of December to the 2nd of January. However, for many Brits the Christmas marathon starts as early as the beginning of October with the first festive adverts on TV. The idea of Christmas shopping is that you spend as much money as you can on anything you cast your eyes on, preferably something neither you nor your family or friends will ever use. An average British family spends 670 pounds or more around the Christmas period.

E. Who doesn’t want to have a white Christmas? Playing snowballs and making a snowman with the whole family on Christmas Day is most people’s dream (apart from the countries like Australia that celebrate Christmas in summer, on the beach). This dream is more likely to come true in northern countries like Russia, but for the British people it’s different. Although it’s not uncommon to get some snow in Scotland and northern England, the rest of Britain is normally only lucky enough to get some frost. In most cases the weather is wet and gloomy.

F. New year is a time for celebrating and making a new start in life. In Britain many people make New Year’s resolutions. This involves people promising themselves that they will improve their behaviour in some way, by giving up bad habits. People might decide to give up smoking, for example, or to go on a diet. These promises are often broken in the first few days of the New Year, however!

G. Christmas is celebrated on the 25th of December. For most families, this is the most important festival of the year. On this day many people are travelling home to be with their families. Most houses are decorated with brightly-coloured paper or holly, and there is usually a Christmas tree in the corner of the front room. Unfortunately, not all families get on well together. As it is a well-known fact, some magazines publish tips on how to cope with Christmas, such as yoga, meditation or holidays abroad.

B−6: At some time on Christmas day the family will sit down to a big turkey dinner followed by Christmas pudding or Christmas cake.

C−1: The idea of Christmas shopping is that you spend as much money as you can on anything you cast your eyes on, preferably something neither you nor your family or friends will ever use.

E−7: Although it’s not uncommon to get some snow in Scotland and northern England, the rest of Britain is normally only lucky enough to get some frost. In most cases the weather is wet and gloomy.

F−8: New year is a time for celebrating and making a new start in life.

G−4: For most families, this is the most important festival of the year.

Прочитайте текст и заполните пропуски A–F частями предложений, обозначенными цифрами 1–7. Одна из частей в списке 1–7 — лишняя. Занесите цифры, обозначающие соответствующие части предложений, в таблицу.

1. whatever it costs

2. most excellent impression

3. you have never heard of before, and nobody else either

4. in the first three years you do not need to learn or use any other adjectives

5. would never know it really well

6. far from being the whole vocabulary of the language

D−4: несмотря на тот факт, что через первые три года вы.

F−2: по структуре: they will get most excellent impression.

The email letter the author sent to Oxford was meant to be …

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

The letter caused so much response because people …

1) fully agreed with the message.

2) were outraged with the letter.

3) wanted to defend Oxbridge.

4) found the topic exciting.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

The author accuses society of cynicism because …

1) universities are very selective.

2) people supported Oxbridge.

3) people seem to be more worried about reputations.

4) lawyers do their job for high incomes.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

Judging by paragraph 7, the authorcomes from a family which is …

4) not very rich.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

The author believes that the selection to Oxbridge …

1) is hard to understand.

3) reveals candidates’ abilities.

4) needs improvement.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

The expression “chip on your shoulder” in paragraph 9 means …

1) feelings of unfair treatment.

2) reflection of one’s potential.

3) below-average performance.

4) record of achievements.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

“It” in ‘have managed to not take it so seriously’ in the last paragraph refers to …

1) Oxbridge rejection.

3) university studies.

4) university interview.

Why I sent Oxford a rejection letter

A little over a month ago, I sent Oxford a rejection email that parodied the thousands that they send each year. Much to my surprise, it has become a bit of an Internet hit, and has provoked reactions of both horror and amusement.

In my letter I wrote: «I have now considered your establishment as a place to read Law (Jurisprudence). I very much regret to inform you that I will be withdrawing my application. I realize you may be disappointed by this decision, but you were in competition with many fantastic universities and following your interview, I am afraid you do not quite meet the standard of the universities I will be considering.»

I sent the email after returning from my interview at Magdalen College, Oxford, to prove to a couple of my friends that Oxbridge did not need to be held in awe. One of them subsequently shared it on Facebook because he found it funny.

I certainly did not expect the email to spread as far as it has. Varying between offers of TV interviews and hundreds of enthusiastic Facebook messages, it has certainly been far-reaching. Many of my friends and undoubtedly many strangers were unable to comprehend that I’d sent such an email to this bastion of prestige and privilege. Why was I not afraid of damaging my future prospects as a lawyer? Didn’t I think this might hurt my chances with other universities?

For me, such questions paint a picture of a very cynical society. I do not want to study law because I want to be rich, or wear an uncomfortable wig and cloak. Perhaps optimistically, I want to study law because I am interested in justice.

To me, withdrawing my application to an institution that is a symbol of unfairness in both our education and the legal system (which is so dominated by Oxbridge graduates) makes perfect sense, and I am reluctant to be part of a system so heavily dominated by such a narrow group of self-selecting elites.

It was only at the interview that I started to question what exactly I was trying to prove. I was well aware that fantastic candidates are often turned down, and I did not believe that this was a true reflection of their academic potential.

Although I share concern that not going to Oxbridge gives you a «chip on your shoulder», I did not write to Oxford to avoid the risk of being labeled as an «Oxbridge reject»: I already am one. Last year I made an (admittedly weak) application to Cambridge and was inevitably rejected post-interview.

A year ago, I was in awe of the beautiful buildings of Oxbridge, but today I am in awe of the sheer number of people who, like me, have managed to not take it so seriously. Ultimately, I am not harming Oxford by laughing at it, and it is an amazing feeling to realize that so many people are enjoying my email. Actually, I was amazed to know how many people of different ages bothered to read it and even to leave their comments about it in Facebook. I had fun reading some of them, too.

Преобразуйте, если это необходимо, слово NOT CAN так, чтобы оно грамматически соответствовало содержанию текста.

The Emperor’s Seed

Once there lived an old emperor who had no children. He ______ choose his successor for a long time.

Преобразуйте, если это необходимо, слово GROW так, чтобы оно грамматически соответствовало содержанию текста.

Then he called all the young people in the kingdom together and said, «I’ll give each one of you a seed today. I want you to go home, plant it, water it and come back here one year from today with what you have grown from this one seed.» A boy named Ling also got a seed. He came home and told his mother that he ______ the best plant.

Преобразуйте, если это необходимо, слово HE так, чтобы оно грамматически соответствовало содержанию текста.

She helped ______ plant the seed. Every day he watered it but nothing grew.

Преобразуйте, если это необходимо, слово BAD так, чтобы оно грамматически соответствовало содержанию текста.

A year passed and Ling took his empty pot to the palace while all the rest brought some beautiful plants. The emperor said, «Lying is the ______ thing in the world. I gave you all spoilt seeds. Nothing grows from spoilt seeds.» So Ling became the new emperor.

Преобразуйте, если это необходимо, слово NAME так, чтобы оно грамматически соответствовало содержанию текста.

Roald Dahl, a famous British writer, was Norwegian by birth. Dahl ______ after the Polar explorer Roald Amundsen, a national hero in Norway at the time. During the Second World War Dahl served in the Royal Air Force as a fighter pilot.

Преобразуйте, если это необходимо, слово CHILD так, чтобы оно грамматически соответствовало содержанию текста.

Dahl became well-known in 1940s with works for both ______ and adults.

Преобразуйте, если это необходимо, слово PUBLISH так, чтобы оно грамматически соответствовало содержанию текста.

One of his highly popular tales was ‘Charlie and the Chocolate Factory’. Since 1945 his books ______ in almost 50 languages.

Образуйте от слова REAL однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

Invention of Crossword Puzzle

Crossword puzzles are the most popular word puzzles in the world. However, their history is ______ short.

Образуйте от слова APPEAR однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

They were created in the 19th century in England, but the ______ of the first published crossword puzzle took place in 1913 in the New York World newspaper.

Образуйте от слова JOURNAL однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

The author of the puzzle was Arthur Wynne, a ______ born in Liverpool, England.

Образуйте от слова DIFFER однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

Wynne’s crossword puzzle looked much ______ from the crosswords used today and had no black squares.

Образуйте от слова POPULAR однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

Образуйте от слова POSSIBLE однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста.

А major breakthrough in crossword puzzle development came with the personal computer. Although many computer specialists used to say that it was ______ for a computer to create a crossword puzzle, software was developed which allows any person to construct their own crossword puzzles.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

Вставьте пропущенное слово:

Amos Finnister was a private detective. In all his years as a policeman and a private investigator, he had learned about people. He gained a psychological insight into most as he 32 ______ them do foolish things. He was at ease with people from all walks of life, and in consequence they were at ease with him.

And this was most apparent on Friday evening, when Major Cedric Crawford dined with him at the Ritz restaurant. Amos 33 ______ to dine there when he lived in New York.

By the time they were halfway through dinner, Amos had the major laughing and sharing stories, some of which were funny. By the time they had eaten the main course, Amos felt comfortable enough to 34 ______ the answer to an important question. “I wonder if you have ever come across Tabitha James.”

Cedric 35 ______ knowing Tabitha with no sign of embarrassment or reluctance. “To 36 ______ the truth, I knew her quite well, actually. She was a close friend of a fellow guards officer, Sebastian Lawford. She fell in love with him at first sight. They were going to marry but unfortunately that did not come to pass.”

“And why was that, Major, do you know?”

“Oh, yes, I’m afraid I do. Tabitha had contracted pneumonia but 37 ______ no attention to her illness. Before I knew it, she was dead and gone. As for Sebastian, he rejoined the army when the war broke out and was killed. A sad story, isn’t it?” Amos nodded. So much depended 38 ______ this information.

You have received an email message from your New Zealand pen-friend Tom: